Leonardo de Vinci, Le Corbusier, Fibonacci und Sthapatya Veda

Jonathan Lipman is an award-winning architect and past President of the Frank Lloyd Wright Building Conservancy. He is Chief Architect of Maharishi Global Construction and Director of theMaharishi Sthapatya Veda Consultation Service for North America. He has overseen over 200 Maharishi Sthapatya Veda design consultations across the U.S. on houses and commercial buildings. He has spoken on architecture at Harvard, Yale, Cornell, Columbia, the Smithsonian Institution, the Museum of Modern Art in New York City, and annual national architectural conferences.

Maharishi Vedic architecture is defined as “the most complete and ancient system of architecture and planning on Earth in accord with the solar, lunar and planetary influences on Earth with respect to the South Pole, North Pole and equator, connecting individual intelligence with cosmic intelligence, individual life with cosmic life.”

This may sound “far out,” but anyone with a high school diploma knows there are laws of nature that govern all the structures of nature – the galaxies, solar systems, stars, planets, animal life, plant life, cells, atoms, and subatomic particles. From the micro to the macro there are laws of nature that maintain perfect harmony and order in relationships throughout all creation.

Once you start looking, it’s obvious that these principles exist, and it’s not only the Indian rishis who have recognized them. Artists, philosophers, and scientists such as Leonardo de Vinci, Plato and Copernicus have developed entire astronomical, philosophic and artistic schools around the perfection of mathematical proportion, perspective and the cosmos. But it is in the Vedas where the science of mathematical and structural harmony and cosmic influences has reached the highest practical level as applied to the built environment.





Der vitruvianische Mensch, Leonardo da Vinci, 1492, Proportionsstudie nach Vitruv, der selber von den Sthapathis, den Vedischen Architekten Indiens, gelernt haben soll und die Prinzipien der Vedischen Baukunde in seinen Entwürfen umgesetzt haben soll, Bild von Luc Viatour

“Our houses, our buildings, our cities are the intermediaries between us and the cosmos, the natural universe,” says Lipman. “Man-made environments affect quality of life and create predicted influences on the lives of the people who live in and use our buildings.”

Lipman points out that some of the great Renaissance architects used proportion, as created by sacred geometry based in the mathematical spiraling Fibonacci series, as did the more modern Le Corbusier. He says today architects recognize that some buildings have great and inspiring influences that affect the success, health and wellbeing of the people who live and work in them, and that other buildings have the opposite effect. But except for being taught abstract geometric analysis, they’re not taught why the structure has an impact. Worse, the importance of using the principles to consciously create a harmonious environment is completely disregarded.

Anordnung von Blättern im Abstand des Goldenen Winkels, so dass das Sonnenlicht optimal genutzt wird.


Sonnenblume à la Fibonacci

Fibonacci-Spiralen an einem Fichtenzapfen


Geometrie / Phyllotaxis


Le Corbusiers Versuch, Proportionsverhältnisse des menschlichen Körpers auf die Architektur anzupassen. Kritiker gaben an, dass Corbusiers angenommenes Standardmaß der Höhe des menschlichen Körpers nicht auf anthropometrischen Beobachtungen basiert und dies vermuten läßt, es sei aus mathematischer Bequemlichkeit gewählt worden.

There are many factors at work in the creation of a building aligned with principles of Vastu Science, and their importance is slowly making inroads in the West. Feng shui, a derivative of Sthapatya Ved, is probably the best known similar building methodology currently used in the U.S. With the increase in interest, some architects are going to the source.